THE EIGHTH CATHEDRAL: 1958-PRESENT

The present Manila Cathedral rose phoenix-like from the desolate ruins of the old cathedral, which was bombed mercilessly along with the rest of the Walled City during the Battle of Liberation in 1945. Asserting back its distinction and dignity as Manila’s premier temple and metropolitan seat of the Archdiocese, the present structure emerged in the midst of the pathetic remnants of Intramuros, its open spaces colonized by squatters and its ancient ruins converted into cargo warehouses.

For many years after the war, the shell of the Manila Cathedral stood before the gaze of the statue of Carlos IV in Plaza Roma. The ruins of its famous façade remained. There was the rose window without the colored glass and the three portals with their receding arches and the cathedral’s historical marker.

Manila ’s clergy had thought of transferring the cathedral from its site in Intramuros. In fact, Archbishop Michael J. O’Doherty and Archbishop Gabriel Reyes pondered on the idea of transferring it to Mandaluyong. It was only through the efforts of Archbishop Rufino Santos that the cathedral was able to reign again in its rightful seat. Fortunately, the cathedral ruins were left to stand in place, still untouched by the bulldozers that leveled off most of the ruins of Intramuros. Santiago Picornell, a well-meaning Manila resident who thought of the historic significance of the ruins, talked out the American officer in charge with the clearing of Intramuros from bulldozing the few bits of history that were left of the cathedral. And from these final surviving fragments of once a majestic edifice, famous architect Fernando Ocampo spun a resemblance of the old cathedral’s design carried over to a new one that was to rise from the same ground, from the fresh wound of history in the heart of the Walled City .

Ocampo, though, deliberately avoided duplicating inch by inch the previous design and instead came up with a new and modern cathedral with an appearance similar to its predecessor but with a more functional use of space. Ocampo’s cathedral was made more spatially and visually interesting by its striking Neo-Romanesque façade, Byzantine motifs, bronze doors, pineapple finials, and many other artistic ornamentations. It has a particularly eclectic character, brought about by the mixture of revival, renaissance, and modern styles with a dominantly Marian theme as a tribute to the Immaculate Conception, the cathedral’s titular patroness.

The Manila Cathedral covers an area of almost 3,000 square meters. The present structure has a Latin-cross plan which closely follows the distribution of spaces of the previous cathedral—aisles are separated from the nave by arcaded colonnades, and several chapels flank the nave.

The beauty and wonder of marble as a building material stand out in the Manila Cathedral. The chapels are paved by highly polished Carrara marble prefabricated in Italy . The main altar, which has a two-meter high statue of the Immaculae Conception, is featured with lovely columns built out of green Carrara marble. Paving the rest of the cathedral floor are cream slabs of marble. Marble also found its way in the altars of the side chapels where reliefs and mosaic panels add further decorative accents. Likewise, the pulpit and the Episcopal throne are made out of Italian marble.

Although fashioned after the previous structure, Ocampo’s cathedral is the product of his own creativity and talent, the child of his sensitive appreciation and respect for the older cathedral structure, the design and plan of which he adapted to the postwar period’s modernist trend in architecture. Indeed, the present Manila Cathedral is the product of its own age and time.

The Manila Metropolitan Cathedral was solemnly consecrated on December 7, 1958 before the Feast of the Immaculate Conception, a tribute to Our Lady under whose guidance and patronage the Cathedral of Manila was able to reign as queen of the Walled City , refuge of Manila ’s denizens, and symbolic seat of the Catholic Church in Manila .

Manila Cathedral as a Center of Happenings

Rousing Welcome to the Philippines ’ First Cardinal, Rufino J. Santos

Rufino J. Santos was the Philippines ’ first Cardinal. He was given a rousing, unprecedented welcome in the Manila Cathedral where his coat of arms is perpetually emblazoned. During his term as Archbishop of the Archdiocese of Manila, there was a flurry of building activities in the archdiocese such as the construction of San Carlos Seminary, Our Lady of Guadalupe Minor Seminary, Pius XII Catholic Center , Catholic Charities, St. Paul ’s Hospital, etc. When Cardinal Santos died in 1974, the Manila Cathedral became the site of his funeral wake. Thousands flocked the cathedral to pay their last tribute to the first Filipino Prince of the Church as he lay there for two weeks. He was buried in the grand subterranean crypt of this church, together with his predecessors: Archbishop Michael J. O’Doherty and Archbishop Gabriel Reyes, the first Filipino Archbishop of Manila .

Pope Paul VI’s Visit to the Philippines

In the 1970s, the most memorable event that brought thousands upon thousands to the mother church of the country was perhaps the visit to the Philippines of Pope Paul VI in November 1970. A marker at the base of the main altar commemorates his pastoral visit in the presence of the ancient venerated image of Nuestra Señora de Guia.

Euphoric Reception to Jaime Cardinal Sin, 30 th Archbishop of Manila

The next Archbishop of Manila came from Aklan—the energetic and witty Jaime Sin of New Washington—a nephew of the late Archbishop Gabriel Reyes. At the steps of the cathedral, where Manila ’s clergy gathered to make their first encounter with their new pastor, Archbishop Sin declared: “Today Sin is Glorified.”

Three years later, the entire Philippines rose as one to welcome the third Filipino Prince of the Church. Archbishop Sin was the youngest Cardinal in the world, and the cathedral was again host to his reception. His youth and energy were called upon to rehabilitate the St. Paul ’s Hospital and the Cardinal Santos Memorial Hospital , which then boasted of expert medical staff and hospital equipment second to none. The St. Joseph the Worker Foundation, Radio Veritas, and various charitable institutions were also to receive much-needed shots in the arm.

The Quadricentennial of the Archdiocese of Manila

With the radical overhauls and improvements undertaken in the latter part of the 1970s, the Manila Cathedral was not caught unaware when a series of important national and international events took place in its hallowed confines. 1979 was the Quadricentennial Year of the Archdiocese, since its creation as a diocese suffragan to Acapulco , Mexico . Jaime Cardinal Sin made the year more memorable by convoking the Fourth Synod of Manila in October. It was marked with grave concern for community affairs and social justice and with the regulation of the liturgy and of the lifestyle of the clergy.

Following the Fourth Synod was the International Mission Congress presided over by Angelo Cardinal Rossi during the opening ceremonies at the cathedral. Then, on December 7, the National Eucharistic Day was celebrated. Finally, the International Law Association, which held its conference in Manila also in December, saw it fit to close its deliberations with a Mass at the cathedral under the auspices of the Catholic Lawyers’ Guild.

Pope John Paul II’s Visit; Beatification of Lorenzo Ruiz

Undoubtedly, one of the most significant religious events in the Philippine ecclesiastical history was the beatification of the first Filipino martyr Lorenzo Ruiz on the occasion of the visit of Pope John Paul II to the Philippines in February 1981. The much-loved Pope came amidst cheers of Totus Tuus from the crowd to celebrate his first Mass on Philippine soil at the Manila Metropolitan Cathedral. Shortly thereafter, he told Cardinal Sin that he wanted the cathedral to be a Basilica.

THE FOURTH CATHEDRAL: 1681-1751

Reconstruction under Archbishop Poblete

The process of reconstruction of the whole cathedral was to start only after some years upon the arrival of Miguel de Poblete in 1653. On July 24, 1653 , the new archbishop Miguel de Poblete entered the city of Manila after arriving in the port of Cavite from Acapulco and sadly viewed the ruins of the old cathedral and the temporary camarin which served as the cathedral in the middle of the plaza. He had the ugly camarin removed and cathedral services temporarily installed in the Church of the Confraternity of La Santa Mesa de Misericordia. For the next six years, the Misericordia Church would function as the interim cathedral. Immediately, the new archbishop planned to reconstruct the stone cathedral.

On April 20, 1654 , the cornerstone of the new cathedral was laid by Archbishop Poblete with the governor general, the Royal Audencia, the Cabildos, and the religious communities in attendance. Archbishop Poblete personally went on foot around Manila , soliciting donations for the cathedral project. In spite of the relative poverty of the city denizens at that time, the good archbishop was able to collect 3,000 pesos in contributions. To this initial fund, he added whatever little money he had. He even made a wooden scale model of the proposed edifice which would have three naves and would be of the Roman Doric order.

From 1658 to 1659, work on the cathedral was hastened. At this stage, contributions began pouring in. The Spanish monarch donated 22,000 pesos from the Royal Treasury of Mexico. Supporting the completion of the project were the products of the vacancies of the archbishopric. When all the donations were spent, the Archbishop sold his silverware, his pectoral cross and ring just to keep the construction going.

By 1659, the cathedral’s naves were already enclosed and the Sagrario de los Curas, the choir and the Chapter hall were finished. At this time, Archbishop Poblete decided to hold Holy Mass in it. The Church of Misericordia , which had served as interim cathedral, was asked to transfer all the cathedral ornaments to the new structure’s sacristy for this event. On December 5, 1659 , the archbishop consecrated the big bell and blessed the belfry of the new Manila Cathedral.

On December 7, 1659 , eve of the feast of Our Lady of the Immaculate Conception, the Archbishop celebrated low Mass in the Sanctuary of the new cathedral. The following day, the feast itself, a Pontifical Sung Mass was celebrated in the cathedral with the governor general, the Royal Audencia, the religious, and other dignitaries in attendance. From then on, the divine functions were performed by the archbishop in the cathedral.

More support came for the cathedral, so that by 1662, religious services were held there more conveniently. That year, the main altar of the cathedral was built out of molave, a native hardwood, whereas an artist painted and decorated the silken cover of this altar. Contributing greatly to this cathedral building were Governor Sabiniano Manrique de Lara and the residents of Manila .

The archbishop planned to have the cathedral formally dedicated on August 31, 1662 , with much festivity, but the several revolts in the Parian and in the provinces of Pampanga, Pangasinan, and Ilocos made it impossible. Although only partially completed with some finishing works still to be executied, the cathedral was blessed on June 7, 1662 . The new cathedral was a beautiful structure of stone, with many altars and chapels. Someone pictured it out in detail:

“ The Cathedral was beautifully built of quarried stone, lime, and gravel. It was 40 brazas long, 15 brazas wide, and 9 branzas high. It had three naves, one at the center and one each on both sides. Each side had seven beautiful columns. The main portal or entrance was adorned with three doors. Each door corresponded to the naves opening out to the plaza. At approximately the middle of the edifice were side doors each leading to the city streets. It had two Sanctuaries—one for Spaniards and another, for natives. There were 8 windows, 4 on each side. Chapels lined the sides with a one-braza elevation from the side streets. The woodwork was all of molave. It had a splendid presbytery, the table of which was 5 steps elevated. The Choir was 3 steps higher than the floor with 52 carved wooden chairs. There were two Pontifical thrones—one on each side of the choir.

“The Cathedral had an imposing tower with a huge bell in it. Near the tower base were located the various offices of the Cathedral. At the top of the tower was a clock.”

Archbishop Poblete died on December 7, 1667 , bequeathing his wealth for the maintenance and upkeep of the cathedral. In his lifetime, he spent 25,000 pesos for the construction of his beloved cathedral. He also donated ornaments, vestments, and vessels for decoration and use during divine services. He was also able to obtain sacred relics which he donated to the cathedral church: an arm of San Marcial, an arm of San Jocundo, an arm of one of the 1,000 virgins, and a piece of the Holy Cross of Christ. The relics were encased in special silver and golden reliquaries.

He entrusted the completion of the cathedral project to his nephew and executor, Don Jose Millan de Poblete, dean of the Cathedral Cahpter of Manila. The project continued with funds generated by the income of vacant encomiendas and from the residents of Manila . In less than two years, the arches, entrances, and collateral naves were finished. On August 31, 1671 , the principal chapel or capilla mayor was completed and dedication rites were celebrated on September 8, 1671 , although construction was not yet fully completed. Work continued until 1681 when the sacristy and other offices of the cathedral were built.

More Restoration Work under Archbishop Camacho

During the term of Archbishop Diego Camacho y Avila, 1697-1706, the cathedral project received so much attention. The archbishop solicited funds to perfect the cathedral and finish the bell tower. He was able to raise 40,000 pesos for the ornamentation of the cathedral. The periods of building and refurbishing were interrupted by natural calamities, like typhoons and earthquakes, and what were completed had to be restored again.

Archbishop Camacho is credited to have completed the sacristy, which was painted and covered with a gilded roof, the Chapter hall, offices, and the choir with its tribunas and grilleworks. He was also responsible for fabricating a lovely pulpit made out of ivory, ebony, and tindalo which the Cathedral Chapter reported to the king as the best in the colony. In the center of the pulpit was the image of the Immaculate Conception of the same material.

It was also during Camacho’s term that the bell tower was completed in 1706. Hired to build the six-tiered bell tower was the Sangley master mason Dionisio Saplan. The Cabildo Eclesistico wrote praises about the tower which could compete in beauty and structure with those in Mexico and Peru . When the Arcbbishop left for his new assignment in Guadalajara , the cathedral was fully repaired, complete with bell tower and ornamentations.

Repairs under Archbishop Rodriguez

Fray Juan Angel Rodriguez ascended to the archbishopric of Manila in 1736 and initiated repairs and renovations on the cathedral. In 1737, the media naranja of the bell tower was demolished and rebuilt in brick with a cupola much prettier than its antecedent. The cathedral church itself was in a ruinous condition. Its hardwood flooring was deplorable, the wooden arched ceiling so damaged, and the roof, especially the areas over the collateral naves, had fallen down. The retablos, which were poorly treated, suffered from the effects of water the continuously leaked from the ceiling and ran over it. The choir area was intolerably humid and filthy, a condition brought about by bats which inhabited the space. Totally, the cathedral was very unserviceable except for its walls.

Such miserable condition of the cathedral spurred Archbishop Rodriguez to improve the edifice. He replaced the deteriorated wooden parts of the structure and was himself able to obtain 13 large bells for the cathedral. For lack of money for the project, he was prompted to solicit from the government unused stones, bricks, and lime originally intended for royal works. In 1740, he reiterated the request but did not live long enough to realize his dream.

The Cathedral by Archbishop Poblete and His Successors until 1751

Prior to the cathedral’s reconstruction by Uguccioni, the structure was a simple and long quadrilateral church annexed with auxiliary services and spaces to complement and support the main congregation or worship area. To its left side, near the main portal, was the Cathedral Chapter hall and an octagonal bell tower. The cathedral was divided into three naves—a principal nave and two collateral ones—separated by colonnades. Seven chapels founded by the generous faithful flanked the side naves. At the back of the main altar were the sacristy, a small parlor and the stairs leading to the private room above.

To the left of the nave, and separated by a patio from the Chapter hall, was the Parroquia del Sagrario, which was the chapel serving as a parish church for Spaniards. It had its own sacristy located immediately behind it. In a small patio located outside the Sagrario and the left wall of the cathedral were 12 houses or casitas, where dwelt poor sacristans. A small pozo or well and a camarin for storage were also located in this courtyard. The cathedral had hardwood flooring, a wooden ceiling, and a height not in proportion to its length. This was the cathedral of Archbishop Poblete and his successors who repaired and improved on it. This was also the same cathedral which Archbishop Trinidad, who was Poblete’s successor, deemed wise to be reconstructed in 1751.